· · Iron Man 3: the technology behind Tony Stark's suit. Thanks to Marvel’s Iron Man 3's incredible action scenes and. some are models and some are CGI. Iron Man on IMDb: Movies, TV. studying a 3D CGI-mapped image of the Mark I. Obadiah calls himself an "iron monger," and has no qualms about selling Stark. Marvel's "Iron Man 3" pits brash-but-brilliant industrialist Tony Stark/Iron Man against an enemy whose reach knows no bounds. When Stark finds his personal world.

Iron Man 3: more suits to play with"The way that visual effects are these days is that we definitely are the can- do department," -  Chris Townsend. Comments the overall VFX supe on Marvel's Iron Man 3, reflecting on the crucial role his department played in bringing the film to the big screen. Along with visual effects producer Mark Soper, Townsend co- ordinated 1. Shane Black- directed picture. Iron Man 3, which this time around featured multiple suits realized by multiple vendors and a powerful sub- surface skin effect known as Extremis.***Please note this article contains plot spoilers***Suits and skin. Although each preceding Iron Man film and The Avengers had of course featured CG Iron Man suits, this new outing would break new ground in number, design and sheer complexity.

We still had to be aware of the history of the suits in terms of where it had come from," says Townsend, "but every film advances the technology more and there's more of a whiz bang feel about the next suit in each film - we're up to Mk 4. It can fly as individual pieces, and wrap around characters and fly as autonomous beings."A relatively short post- production schedule and a wide variety of sequences meant that multiple facilities worked on the Mk 4. Digital Domain lead the original design and modeling effort, while at the same time Scanline and Trixter created suits for their shots. Consistency between VFX houses was enabled via constant sharing of OBJ files as well as shader looks and animation performances. Above: watch a breakdown of Digital Domain's VFX for an Iron Patriot scene in Iron Man 3. On set, production filmed with portions of practical suits crafted by Legacy Effects, including a half 'football' jersey style painted with a metallic finish and 'clamshell' pieces of suit, soft- suits and half- helmets, both for the Mk.

Iron Patriot (a red, white and blue version of War Machine). Even though the suits often become replaced," notes Townsend, "the actual reference you get as you shoot those live action suits, either as a maquette or a partial suit being worn, the actual lighting reference is invaluable. It also restricts the body movements a little bit, which is the right sort of performance."VFX plates for the suits always made use of HDRIs, LIDAR scans, photo texture shoots and gray and chrome sphere reference. Invariably we'd shoot a soft- suit with Robert then we'd also put tracking markers on his trousers," adds Townsend.

He would also wear lifts in his shoes or be up in a box so he'd be the correct height - Iron Man is 6"5'. During shooting we used multiple witness cams, Canon C3. Iron Man or Extremis character."Digital Domain was one of several studios that contributed Extremis effects shots. The Extremis effect was, with the newly designed suits, the film's other big visual effects challenge. It was an internal glowing sub- surface volumetric effect," explains Townsend.

It makes them stronger and helps them re- generate areas of their bodies. There's a glitch in the system and the story is about finding out what that is."Townsend and Shane Black wanted to ensure that the Extremis look was, however possible, still grounded in reality. How do make a guy who glows orange and explodes look real?," Townsend jokes. The answer lay in referencing actual phenomena such as the aurora borealis, x- rays and how things looked photographically when you seen inside the body.

The Mandarin unmasks Iron Man before their final showdown ends in his death. (a scene in the episode. The 3 disc set had no features and just included all 26.

1. · Above: watch a breakdown of Digital Domain's VFX for an Iron Patriot scene in Iron Man 3. For some of the new Iron Man suits appearing in the final.
2. Iron Man 3 is an American super. In February 2011 Shane Black entered final. to "film aerial drops over the Atlantic Ocean."They were done for the scene where.

We wanted to steer clear of the medical look and keep a bit of mystery," says Townsend. We looked at time lapse photography of decaying fruit and vegetables and played it back to see if this organic process of re- growth and rebuilding. Buy Phone Credit Online Three. We looked at time lapse of cars driving through the dessert and there would be streaks of light flashing through the desert - they were very reminiscent and inspired these energy ribbons that were very organic with pulses of energy."Previs, planning, shooting. Iron Man 3 was filmed mostly in North Carolina, with some scenes captured in Florida, Los Angeles and China (there is, in fact, a unique Chinese version of the film with additional characters).

DOP John Toll, ASC shot predominantly on the ARRI Alexa. Stereo. D completed a stereo post- conversion. The VFX houses involved included Weta Digital, Digital Domain, Scanline, Trixter, Framestore, Luma Pictures, Fuel VFX, Cantina Creative, Cinesite, The Embassy, Lola, Capital T, Prologue and Rise FX.

With so many action sequences and visual effects, the filmmakers turned to The Third Floor for previs and postvis work. This included the attack on Tony Stark's mansion, the Air Force One rescue, the Rosehill town fight and the seaport finale. We also provided techvis for several of these, including the Malibu attack and Tony’s 'suit connect' sequences," says previs supervisor Todd Constantine. We built/used the upper living room level and lower garage level of Tony's mansion so we could make sure all of our cameras would fit in such a closed, specific space."Previs by The Third Floor."Marvel’s Iron Man 2, which we also worked on, only had two suits," adds previs/postvis supervisor Gerardo Ramirez. In Marvel’s Iron Man 3, we learn that Tony has been busy creating more toys for himself. One challenge we faced was helping define the characteristics of each suit, its features and how they moved and worked. The fun part was helping determine how the different traits that each suit has would help push the story forward and in the end help Tony survive."Perhaps the most complicated sequence to previs was the final seaport battle.

The scope of the end battle was a challenge," says Rameriz. There were various stories that needed to be told and we needed to make sure each action helped move the story to the next scene.  As the edit evolved, the VFX editors would send me the updated plates and our team would adjust the shots to the new concept, delivering back revised postvis frames.

This workflow allowed the director and editor to explore various options to tell the story."Check out the scene breakdowns below, identifying the challenges faced by the VFX vendors on the show, and how they solved the issues facing them. Suit connect. The suit pieces reach near final form. The challenge: Make individual Iron Man suit pieces autonomously fly onto Tony Stark to connect as the Mk. Comic- Con trailer playing some 1.

The solution: Trixter took on the the suit connect sequence, designing suit pieces and the final shots - they got the call in May 2. June. Beginning with The Third Floor's previs, Trixter developed droplet shaped pieces in lookdev and shot design prior to principal photography. The shots called for pieces of the suit to be lying around Stark's lab, which when summoned would activate and propel themselves onto his body, finally transforming into the individual suit sections and undersections as they connect.

We had to use actual elements of say the final glove but shuffle them around to make it look different," explains Trixter visual effects supervisor Alessandro Cioffi. Sometimes it was funny because we got comments that the pieces looked like a kitchen tool or a coffee machine, so we had to refine the design. It had to look cool but be functional to our purpose. The suit was eventually split into 2. Suit piece design by Trixter. On set, Downey Jr wore tracking markers mainly just for reference, with witness cams also relied on for matchmoving. He was also often in a fully wired rig which had to be removed from the final shots.

Animation- wise, the suit pieces went between three stages: totally unconnected, transforming and final. Various animation vignettes were designed and could be called upon later for other suit forming shots.

The particular challenge for Trixter was that Robert Downey Jr moved quite frenetically during suit connections, especially when he was hit and being thrown around. That necessitated a (successful) standalone greenscreen test to ensure that an actor could be roto- mated. The iconic final move in the Mk. The final suit pieces and final suit itself was made up out of brushed gold, a red slightly matte finish, dark metals for underneath the suit and for cables and other parts and a 'champagne' matte non- reflective metal with a fine grain. An iconic landing shot of the full Mk. Marvel imagery and used a re- projection of Downey Jr's face.

Trixter relied on a Maya and Render. Man pipeline, moving into Katana for lighting half- way through production. Effects additions were done in 3ds Max, Fume. FX and rendered in V- Ray.

For subsequent shots featuring the fully formed suit 'mirroring' for Stark as Pepper arrives home at their Malibu mansion required a unique approach to animation for this new 'domestic' setting. We had to make it seem like RDJ was in the suit even though he wasn't," notes Cioffi. How would he act, how we would walk? Then he approaches Pepper and puts his hands on her shoulders and does a gentle massage. Then she figures it out and the suit is standing next to her (so the audience knows it's empty) and we had to switch to a different character that wasn't RDJ. There was a lot of subtle animation there."Part of the glove and boot sequence.

Trixter also contributed to a fight scene later in the film when Stark takes on some adversaries with just a glove and boot attached to his body. A somersault shot in that sequence proved particularly challenging. Chris Townsend was on set and he called me and said hey we're running into a little problem where there's a very dangerous stunt RDJ needs to do and this cannot be shot on location," recalls Cioffi. So we needed to shoot it in a green box and bring the action inside the room.""Chris shot HDRs for the room from each corner plus two extras and a LIDAR scan of the location," continues Cioffi. We matchmoved the green box scene for the complicated camera move. We reprojected the room onto the model and enhanced the action, we could move the shot around and re- create the smoke, feathers and FX coming from the boosters from boot and glove. The house attack.